As our inspirations, we chose a number of different artworks and themes. The two main themes were the peep show which demanded people peered into a hole to see what was inside a box.The second theme was the drost effect expressed in two ways: the spiral of an image repeating itself, and the image within and image within an image …We agreed quite rapidly that they would portray what we wanted to say and be a satisfying medium for our project. -Nicolas Rossert 11/24/09 10:57 AM

Bringing attention to our disregard for the environment. Increasing pace of life. Do people care anymore? -The hide for us is the camouflage of being hidden amongst the rest of the population. Being part of what we are observing like a hunter wearing camouflage cloth to blend in with nature. In our urban context, the best way for us to be in a hide is to blend in and observe through our own bodies.

-The folly is the Union Terrace Gardens. We are observing people’s reactions to what we are presenting. We want to observe the observers.

-In more than one way, we are observing ourselves. By observing other people in their natural habitat, we are observing our own actions, as a species/culture/race, and we are observing people in the act of observing.

-We are also observing people who decide not to observe, people who decide to stay “unaware” and uninvolved with their surroundings. This is the main idea that has made us continue forth with our project: people refusing to get involved and observe their surroundings.

-See Life Caught Unawares, by Dziga Vertov (cinéma vérité/kino pravda) The man did documentaries using one of the first portable camera systems to campture what he considered “life unawares”. I guess it’s like artistic CCTV -Nicolas Rossert 11/23/09 6:02 PM we need to be a bit wary of using the CCTV connection. That was something Iain was very particular about that it hadn’t to be like CCTV This isn’t like CCTV, we did film, but in a totally artistic way. The link isn’t close to CCTV but more to the photographer bird watching. If we quote Vertov, there will not even be anything close to CCTV, I was just doing a reference and analogy. Vertov just wanted to catch scenes from the everyday, and only a portable camera could do so.. -Nicolas Rossert 11/23/09 6:33 PM

We decided to base the concept of Hide and Folly brief on the politically controversial Union Terrace Gardens location and present it in three different forms.

The “PAST” would portrait the way the area looked prior to the Aberdeen urbanisation.

The “PRESENT” would portrait the current look.

The “FUTURE” would portrait how the area will look in the future if we continue to pay more attention on innovation of money harvesting techniques rather than human renaissance to the age of valuing the nature not only for its merchantable assets but for its true values.

We decided to use “DROSTE” effect as a visual metaphor for the time and space travelling. All team members as well as Ian were keen to this idea. The converging shape also attract the attention to the artwork and evoqes the interaction with the audience.We decided to base our interaction model -artwork-audience on the sense of curiosity and visual/optical misdirection of the droste effect. Small holes in the artwork will enable the passing people to peak through and explore the key message of the artwork. It is part of human nature which attract us to something forbidden/hidden. More hidden it is more we want to explore. That is why we want to use number of peaking holes to convey our message. Matej Pavlicek 11/23/09 8:56PM2 Union Terrace idea – description/reasoning –

“People take the Union Terrace Gardens for granted”, that is the story we have decided to tell through our work. It is a haven within the city, a place for quiet contemplation -The Union Terrace Gardens are going to disappear at some point, sooner or later that may be. We have decided to make that message our work attracting the attention of the people passing. This message will be or won’t be observed by people, we will be there to record what happens. everything is disposable in our society, nothing seems to be appreciated anymore
-The observation and lack of observation. Things change, disappear, reappear, but does anyone notice these things anymore? We just seem to be made of a society who doesn’t really watch their surrounding and are too set on their destination to enjoy the ride. -Nicolas Rossert 11/23/09 6:37 PM

Union Terrace was used because of it beneficial potential to the final outcome of the project. Idea of hide and folly can be executed in its full potential due to the concept of the place and its recent controversial history. Union Terrace Gardens are located in the heart of the Aberdeen city centre. Issue related to this area can not be overlooked by any Aberdonian just because the changes are not happening in his/hers local area. This area is own for any person living in Aberdeen due to its long history and its praiseworthy utilization. This place represents the connection of man with the nature. Devastation of this jewel in the heart of our community might just prove to be the witness of the community values disintegration.Matej Pavlicek 11/23/09 8:56PM3 Frames method choice – description/reasoning our pictures are almost self explannatory -Nicolas Rossert 11/23/09 6:12 PM

-We decided to transmit our message in a very “ghost of Christmas past, present and future” method.

-3 frames: one for each stage of the gardens. critical to our project being successful was to make something that would be attractive to the people passing by. It would be impossible to observe people’s reactions to it if the ‘folly’ completely blended in with the environment. At the same time it should not have been something vulgar and ostentatious, this would have resulted in everyone noticing it immediately and thereafter disregarding it. A delicate balance needed to be struck to satisfy our requirements The size of the frames and the images used were crucial to achieving this -shonamadigan@hotmail.co.uk 11/24/09 4:48 PM

-Forcing people to observe closer and closer and making them peep.

-The 3 frames tell a story and have to be observed very closely to get all the details of the story they are telling. The frames should not be taken separately but as a whole.

-The idea is to attract people to observe and for that we have created 2 3D frames which have for action to take people into the story to the point where they peep inside the frames to see the part of the story that lays inside.

The group chose three different visual metaphors for visual representation of three basic states in time. Past-Presence-Future.

Our aim was to give a subtle hint to the viewer/participant without revealing the true meaning of the project readable just from the passing by glance. The aim was for the general public to interact and be inquisitive about the artwork to come to understanding of poetic language of visual metaphors.

We decided to fortify the idea of time/space travelling by approaching the artwork planing and realization phase with the with the aim of creating the multidimensional effect.

PAST

This design expanding towards the viewer was designed as visual metaphor for old camera/spyglass/telescope pointing to the past trying to capture a snapshot of what the background environment once was.

Our past is clear to us, we all know what we have gained and what we have lost. The picture of past is complete and clear to us, however we do not often remember it or can not bother to remember it.

That is why we decided to use the old camera shape for frame design to represent past. From the distance a viewer can not clearly see the image because the view-port is very small and past image is attached to the last frame layer of the design. However as the viewer approaches artwork closer the picture starts to reveal. The design prompts the viewer to peek into the hole which enables him to see the full – clear image of past. The process of exploring the artwork from the first second till the full story is revealed represents our everyday relationship with the past where to see the whole picture the person has to put certain effort to reveal it/remember it.

FUTURE

By contrast from the past, we can not clearly see our future. We can only guess what is awaiting humanity in the future. That is why it was, during design process, decided to use only small image of the future attached to the rearmost frame layer to visually symbolize the insecurity and the doubts about the future. The placement of the image representing future to the convergence point of droste effect painted on the frame structure also fortify the visual metaphor of space/time travel. The other key aspect of the design is that a viewer has to put his head into the artwork as close as possible to clearly see the image. In that moment the viewer becomes more than the viewer, becomes the part of the artwork and the whole story. The part of the future creation affecting himself as well as his future generations. Precisely at this point the viewer must decide whether he likes what he sees or not. At this point the viewer is confronted with the darker of the two possible scenarios revealing the outcome of our urbanization actions if not stopped on time.

PRESENT

The present frame was decided to be used as the negotiation medium between the viewers and the two (past/future) scenarios. The message reaching its hand to the audience will be printed on the face of the frame while middle piece will be left out for viewers to see what is always forgotten or unappreciated (Union Terrace Gardens).Matej Pavlicek 11/23/09 8:56PM4 Development/Design process – different design stages (droste effect, paintings, frames)

-Choice of which pictures would not only tell the story effectively but also grab people’s attention fast enough for them to stop and observe and let us observe them observing.

-Inside pictures had to be eloquent enough for them to reflect our visions of things.

-Frame had for purpose to drag people’s attention and to bring them close to our “decoy” so we can observe them.

*As a analogy that works well with our whole presentation I like the duck hunters: they wear camouflage not to be seen, and use decoys, such as fake ducks and whistles to attract the ducks to then shoot them and eat them (in our case, observe them, and shoot them -optional though-)

I think an analogy to hunting or of bird spotting, because it seems to be the main inspiration for the brief. The brief’s text is so vague and theoretical, that this helps. -Nicolas Rossert 11/23/09 6:07 PM5 Display and observation –

of reactions we began setting up at 9.30am and it was quite interesting how people were reacting even then. Looks of intrigue and puzzlement were evident on those passing by. This also forced a consideration of peoples general behaviour, how they go about their lives.

-The reactions were gathered semi-scientifically by dividing the people who passed in front of our frames into 4 categories: those who just passed by, those who glanced, those who observed for a short time and those who observed for a long time. This system works with arbitrary measurement methods which are far from exact, therefore the system is not close to scientifique.

Through our hide, composed of a table at the other side of the street in a café, and sometimes also involving an improvised incognito observing mask: a newspaper with two holes in it for the eyes. After counting through a “tick” system the people passing by, I could finally start writing more qualitative observations. –Nicolas Rossert 11/24/09 5:00 PM

-We have also gathered all our observations in a collection of texts individualy compiled from our conversations during our observation, away in our hide.

-Filming and photography took a large part of the work and have been extensively used, not as a CCTV system but to be used as a representation of the traffic flow in front of our frames. This system is not a way to observe individuals but to observe the observers as a group and how they are dynamically affected by the frames and others that look: allows to represent effectively the flock effect we observed.

-Pictures allow us to observe and capture individual and small group reactions.

-Sketches were made representing what we observed. As we all have very different drawing styles and abilities, these vary between us and have a very different and personal way of interpreting what we observed.

-We also observed ourselves first hand as the whole experiment is to experience observation of observers.

It was very interesting to see the how well the artwork integrated into the landscape and how welcoming it execution affected the social space and behaviour of people in this space. We could observe surprisingly successful integration of the artwork to the social landscape of the area by the number of people, groups of people gathering in the close aproximity to the artwork. Friends and families often stopped in front of the artwork enjoying the joyful discussions.Matej Pavlicek 11/23/09 8:56PM

The future is the easiest to read from up close or afar, and by that I mean it has the capacity to transmit its narrative the fastest and requires the least efforts to read. Although the majority of people are attracted to the text and tilt their heads to the side following the spiral of text. I can only observe that text seems to reassure people because it seems to be the language, the story, the narrative, the medium that they are the least afraid of trying to understand. -Nicolas Rossert 11/24/09 5:00 PM6 Interpretation of observations

-Our observations have allowed us to make social commentaries which we were surprised to see based on gender and age, as well as general observation on people’s observation skills and how much attention is paid to our surroundings and how long we observe changes in our lives.

-We have noted that the most curious and longest observers were children, that dragged their parents along with them to observe the frames. They also had to get lifted up to be able to see into the frame and peer.

-We observed paranoid moments from teens that were peering into the future that always looked around them after, showing that we all know that someone is watching, but the purpose of their observations are unknown. Even when spotted, people did not know why we were observing them. This made them nervous. We can only be led to conclude that CCTV is not very healthy for mental health.

-In couples, the ones that observed the longest were men, who seemed much more interested in the techniques of constructions of the frame rather than the frames themselves. As for female observers seem to look much more into the frame and at the frame itself than around it. They were also the ones who wanted to leave the site first and dragged their husbands along. Maybe men and women have very different techniques and interests in observation. Maybe men get more easily distracted. I didn’t think there was a gender difference in their interest, more the way they were interested. MAles wanted to see how they were put together and females were interested in the overall thing. –shonamadigan@hotmail.co.uk 11/24/09 4:56 PM there was a dynamic within couples in that on ewould be interested and the other wouldn’t which would curtail the interested parties contemplation of the installation -shonamadigan@hotmail.co.uk 11/24/09 11:51 PM

-Amongst elder couple, the men were almost systematically dragged away from the site before they could observe as long as they wanted to.

-Over a third of the people who passed by the site just passed by, and did not even glance. These people will probably never notice the fate of the gardens.

-All in all, we do not observe our surroundings enough. The field is very divided: either you observe fully or not at all. The in-between is the minority. the observation resulted in a reflection of different personalities and priorities rather than the demonstration of a cultural shift.The dynamics of couples were very interesting. One would be interested and the other would be striding ahead. The interested party would have to curtail their appreciation of the devices to catch up with their partner -shonamadigan@hotmail.co.uk 11/24/09 4:41 PM Children are characteristically more inquisitive and this was certainly borne out in the study

Some contemplate the future from afar, as the peeping required it minimal. All the teens that peeped through the past look behind and around them feeling they are being watching and by fear of being “punked”, which reminds me of the uncertainty principle: In quantum mechanics, the Heisenberg uncertainty principle states that certain pairs of physical properties, like position and momentum, cannot both be known to arbitrary precision. That is, the more precisely one property is known, the less precisely the other can be known. In the world observable by the naked eye, this could be translated as: one cannot observe anything without affecting what one is observing. -Nicolas Rossert 11/24/09 4:59 PM

Union Terrace was used because of it beneficial potential to the final outcome of the project. Idea of hide and folly can be executed in its full potential due to the concept of place and its recent controversial history.

The artwork was positioned in front of the william wallace monument in which we can see the parallel between William’s fight for Scotland’s integrity, recognition, for lands and freedom of people living in the area. Now when Scotland gained all what the William was fighting for, we often forget his legacy in the current social climate. People do not often put any resistance to the actions affecting their life environment and do not try to fight for the same principles, but on the local scale. With the aim of this project to draw public attention to the issue of Union Terrace Gardens and the resistance of individuals for garden’s integrity and for freedom of people using them the way they were first designed and intended to be used.

The most important part of the project is not the design, production value even the quality of materials, the core of the project lays in the project legacy, enforcement of the social level of this project. The ability of the project to establish a direct link between the Gardens and the viewer and effectiveness of communicating the context of this connection is the form for measuring the project’s of success.

Foremost of all elements the social level of the hide and folly project has a key potential to leave a legacy in its audience.

The fact the project is not very literate in the visual communication helps the concept of the location to give the audience a hint of project’s purpose. Project communicates through the audience’s sensitiveness to the location and time/nature. Man throughout the history has always been able to learn from subtleties in nature. Was able to integrate the natural techniques into everyday lifestyle, that is why we decided to use this human ability to learn and integrate gathered knowledge using subtle metaphoric visual language to resonate the current issue.Matej Pavlicek 11/23/09 8:56PM7 Final reflection of the brief/project/ interpretation of knowledge gained

-A lot of fun collaborating and using everyone’s different ideas and skills to refine a group compromise of everyone’s desires. A succussful amalgamation/utilisation of everyones skills and knlowledge -shonamadigan@hotmail.co.uk 11/24/09 4:39 PM

-I’ll make up the rest on the spot.I tend to do quite a bit of that -Nicolas Rossert 11/23/09 6:08 PM

People are not entirely oblivious to their surroundings as had been feared but there are many people who are not interested in what is there –shonamadigan@hotmail.co.uk 11/24/09 4:44 PM

On a more general perspective, we are left to wonder if people will even notice when the gardens are gone that there use to be something there. Will men be more interested on how the gardens will be destroyed and how the constructions in their place will rise from where the gardens stood? Will people just pass by going to their “point B” without even a glance at the gardens? -Nicolas Rossert 11/24/09 5:01 PM Or should this go in the above section

I think perhaps section 6 and 7 should be combined for the purposes of presentation. They deal with similar themes and some answers could fit into both categories -shonamadigan@hotmail.co.uk 11/24/09 5:33 PM I think both sections should be separate because the 6th section tells about the observation of the day and the seventh section tells the knowledge we gathered from section 1to6. -matulilik matulilik 11/24/09 6:03 PM

The exercise has also made me take more notice not so much of the surrounding environment but of the way people interact with that environment. It has also made me more conscious of the consequences of our actions within it -shonamadigan@hotmail.co.uk 11/24/09 7:55 PM
the information gained from the days observation has changed the way I look at the world despite the fact I was trying to open the eyes of others –shonamadigan@hotmail.co.uk 11/24/09 11:44 PM

Here are the five steps which took our designs from almost purely theoretical to the real world. We have had to do a lot of brain work to consider all the practicalities and impracalities of our ideas, and I think we did a really good job compromising between what we idealy wanted in terms of aesthetics with what was realisticaly practical. Half of our work was about finding the best compromise, from the frame to all the designs, and the techniques we used to create. Basically from our initial idea to the final work, we have mainly worked on balancing our compromise and trying to see all the possible flaws and fix them before creating. Like my management teacher use to say: failing to plan is a plan to fail.

Once we were completely satisfyed with all our theory, and twisting and turning, probbing and testing we took our designs and idea to the real world. I think we planned very well and even added some on the spot ideas to our frames. Matej’s 3D representation were essential to our handi-work. We were able to test models in a 3D work instead the costly alternative of prototyping.

Team work was essential during the whole process and will take a bit of text here to thank Matej and Shona for the great team work we’ve done together. Before step one there was actually a step 0: getting the wood, and Shona did an expert job at getting the most cost effective piece of wood and maping out the way it needed to be cut, as well as getting the initial cuts done. From there on Matej and I measured the squares to be cut out and planned where holes needed to be. We also came up with the idea of putting smaller holes on the bottom of each frame a part from the first one to be able to pass string through it and anchor the frames with string/rope instead of by creating legs and feet as support (I can now comment that that was a really good idea).

The second step was the time spent in the workshop drilling and cutting, preparing the frames. Doing something manual and physical was very releaving and gave us a sense of satisfaction beyond belief. We were finaly creating what we had sketched out. Doing something with your hands gives a very different sense of satisfaction to working on paper or on a computer.

Step three was choosing amongst our over 50 designs to represent the future and the past exterior frames. We had to consider not only aesthetics, but also readability of the message and how the designs would work in practice on the frame. The watch was chosen for it’s high readibility and the clear message it transmited, the one chosen is really my personal favourite. For the future we had quite a few very different ideas, but space was chosen because it was very identifiable. The blue picture of the Orion nebula by a NASA telescope was chosen because of it could be identified quickly. This was the main criteria of choice: designs that could be indentified and read quickly because we wanted to grap the observer’s attention as fast as possible, but had to maintain a certain level of mystery and puzzle to make the observers interact with out frames once their attention was grabbed. The frames served 2 purposes: grab attention and create further desire to observe and explore our creations.

Step four was the infamous put-everything-together stage. It involced spray mounting, further drilling to really make our designs perfect and the very very delicate art of puting the frames together without breaking them. The operation was a great success.

And step five, posing elegantly in front of our finished work. Yes, it is a step generaly overlooked but absolutely necessary! It was mainly because (I think I speak for all of us) we were really proud of our creations!

Following series of pictures shows the concepts for future/presence/past based on our group discussion.

Future:

I created a 4 different concepts for future reflecting the Shona’s sketch. First one is full 3D render and other three try to mimic the different painting styles.

While the first image clearly communicates our future idea – concrete environment, other three let the viewer imagine the shapes and forces him to use his imagination.

Present:

I created concepts for both slogans I was sent by Shona and Nicholas. The present frame will be used as the main communication tool which will reveal the story of all three of them.

Past:

This is my concept of past as I would imagine it. Use of natural resources – wind and reasonable exploitation of soil – flower planting.

The painterly style was used to fortify the idea of picturesque landscape as well as the hint that this lifestyle is quite murky for average contemporary person. The knowledge of past is often forgotten.

Magic Arm Vest Flycam6000 Stabilizer Steadycam Steady

It increases elegance of the moving shots and increases the quality of cinematography.

The magic vest and arm displaces the weight of the entire camcorder and stabilizer combination over the operator’s body. It is light in weight, not overbuilt.

The mechanical system of a vest and articulating arm alleviates the physical stress that’s otherwise placed upon you by manhandling a stabilizer on your own. If you’ve ever used a stabilizer, it’s a great tool to have for walking shots, but even after a short time it becomes very tiring. The fatigue that’s induced by carefully holding a stabilizer and camera at arm’s length for extended periods will eventually impact your shooting in a negative way, because the more tired you become, the more attention you devote to that feeling of physical stress. A vest and arm system removes that problem, enabling you to simply “wear the camera” and go all day long.

Examples of camera stabilization in use:

Balancing the camera:

Camera shoulder support stabilizer

The double rod support used the strap system to transfer the weight of the camera to the operator’s opposite shoulder, thereby reducing arm fatigue while its single rod system provides you with the stable platform you need for steadier shots. It also have a padded base and locking tilt.

Camera Shoulder Support & Stabilizer

KONIG MONOPOD

A compact and sturdy monopod for the Sony Z1 style of cameras, with a hinged foot rest for maximum support.

Manfrotto Fig Rig 595B Camera Stabilizer

A lightweight, hand held camera stabilizer, the Fig Rig features a “wheel shaped” design. It is the only modular system in the world to smoothly support the DV camera and act as a frame to mount all accessories, including zoom controllers, mics, and more.

The Fig Rig is the only modular system in the world to smoothly support the DV camera and act as a frame to mount all the accessories – including zoom controllers, mics, mixers, lights, monitors, arms…

Glue Pod Steadicam Camera Mount

he GLUE POD is designed to mount your small camera to outside or inside of any vehicle using very strong industrial suction cup to hold your camera. The is best setup for mounting a camera on cars, trucks, boats etc… It allows to get road/rock solid videos from the vehicle. You can take video of nature, people, sideways etc.while driving.

GLUE POD is a perfect solution for using your small video/still cameras anywhere you want. It enables the video cameras glued on any surface with the help of provided suc

Learn how to create amazing push pin toy effect as seen in Radiohead’s “House of Cards” video using Trapcode Form. You will learn how to use Trapcode Form along with regular footage to create a slick, eye-popping 3d push pin toy. Just put the camera in, apply some blurs and glows and you’re ready to go.

MaxAfter.com

• Generate particles in After Effects with Trapcode Form Plugin
• Apply Trapcode Form Plugin to a real footage to generate 3d particles

presents the motion tracking tutorial with the image/billboard transitional replacement.

IMAGINEERSYSTEMS.com

Ross Shain, Imagineer’s product specialist takes you on a walk through advance tutorial on imagineers adjust track module. Also this tutorial shows exporting this tracking data into an After Effects workflow.

RayFire Tool gives you the ability to fragment, destroy, demolish, wreck, break down, wreak havoc, blow up, burst, detonate, explode, shoot and do other similar things you have always dreamed of to do in Max.

Fume FX

FumeFX is a powerful fluid dynamics engine designed for the simulation and rendering of realistic fire, smoke, explosion, and other gaseous phenomena. It’s versatility, robustness, and intuitive workflow make it a perfect solution for even the most demanding tasks in the computer graphics industry.

Thinking Particles

ThinkingParticles™ 3.0 is the ultimate rule based particle system for 3ds max, offering unparalleled power to the user. ThinkingParticles™ 3.0 is a completely new class of rule-based particle systems for 3ds Max. When this type of particle system is compared to an event-based particle system, (which works on triggers and time dependent events) you’ll find many unique advantages within TP3’s rule-based logic, which is free from normal time-based constraints and instead applies simple behaviors. These behaviors govern all aspects of a particle’s motion, life, death, and collisions in a true non-linear fashion. We hope you find that by using ThinkingParticles 3, you can create all the incredible effects you were hoping for, but have been limited previously by existing technologies.

Red Giant features three After Effect plugins for chroma keying simplification.

Overview

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LightWrap

Vodpod videos no longer available.

Light wrapping is something everyone should know about and learn how to do. It greatly improves the quality of your compositions by making them look more believable.

In this tutorial I will show you a quick and easy way of creating great looking light wrap effect without using any 3rd party plugins (with exception of CyCoreFX which you should already have by default). The results are fantastic and you can easily compare them to many expensive commercial plugins out there that do the same thing. But that’s not all…

Color correction can make or break your video. This set of training DVDs teaches you techniques to rescue shots destined for the trashcan. You can make your video shine.

Split over two volumes for a total of SEVEN hours of video training, Curious Turtle’s Digital Video Color Correctiontakes you from simple color theory and using the basic tools, to crafting a full color grade.

Use the techniques you learn here, regardless of which system you work with.

Color grading is the final touch you give to your footage, and it can completely transform the look and emotional impact of your video. We like to think of it as the final loving kiss for your projects. Film Wash Color Effects is a set of filters designed with one purpose – to take your footage from the ordinary to the unique. We’re not talking about regular, simple color correction presets –Film Wash works in specific ways to give the video a deep, textured rinse.

Colorista 1.0 is a powerful color correction tool with simple color wheels and basic masking. This tool can be integrated as an effect plugin into the AfterEffects. Colorista simulates the basic color corection toolset available in Fusion and other compositing packages.

Mojo

Mojo 1.0 have been designed by director and technologist Stu Maschwitz for his professional work. Mojo includes library of film graded effects which can be further adjusted using the simple handler based interface.

Independent film director, Eric Escobar offers a collection of 20 original preset Looks. Inspired by classic American independent films, they are divided into Exterior Day looks, with selections such as Ironic Sunshine, Los Angeles, and Mumblefish; and Interior Day looks, such as Apartment in the Valley, Actor’s Friend, and Cheap Drinks.

“Color is visceral. I think of coloring as editing the hue and tone of the raw image to reveal the emotion of the frame. My goal has been to balance that emotion while minimizing process — preserving what the story needs.

Each family of Looks helps tell a common story that you will make unique when you add it to your image. Some of these looks are complicated, some are really simple. Please use them as a jumping-off point to create your own,” says Eric Escobar.

Children have neither past nor future; they enjoy the present, which very few of us do. Jean de la Bruyere

Let us not look back in anger, nor forward in fear, but around in awareness.

James Thurbe

One of the most tragic things I know about human nature is that all of us tend to put off living. We are all dreaming of some magical rose garden over the horizon – instead of enjoying the roses that are blooming outside our windows today.

Dale Carnegie

The secret of health for both mind and body is not to mourn for the past, not to worry about the future, or not to anticipate troubles, but to live in the present moment wisely and earnestly.

Buddha.

The pleasure we derive from the representation of the present is due, not only to the beauty it can be clothed in, but also to its essential quality of being the present.

Baudelaire

Nothing is worth more than this day. You cannot relive yesterday. Tomorrow is still beyond your reach

Goethe

Time past and time future what might have been and what has been point to one end, which is always present.

TS Elliot

Remember then: there is only one time that is important–Now! It is the most important time because it is the only time when we have any power.

Tolstoy

Children have neither past nor future; they enjoy the present, which very few of us do.

Jean de la Bruyere

Let us not look back in anger, nor forward in fear, but around in awareness.

James Thurbe

One of the most tragic things I know about human nature is that all of us tend to put off living. We are all dreaming of some magical rose garden over the horizon – instead of enjoying the roses that are blooming outside our windows today.

Dale Carnegie

The secret of health for both mind and body is not to mourn for the past, not to worry about the future, or not to anticipate troubles, but to live in the present moment wisely and earnestly.

Buddha.

The pleasure we derive from the representation of the present is due, not only to the beauty it can be clothed in, but also to its essential quality of being the present.

Baudelaire

Nothing is worth more than this day. You cannot relive yesterday. Tomorrow is still beyond your reach

Goethe

Time past and time future what might have been and what has been point to one end, which is always present.

TS Elliot

Remember then: there is only one time that is important–Now! It is the most important time because it is the only time when we have any power.

As mentioned in previous posts the resolution of proposed images varies up to 10x between individual versions of droste effect. You can see below the comparison of images at 650×650 pixel at 72dpi and 6496x6496pixel at 72dpi The 650pixel version is the small square in the middle of the bigger 6496pixel image.

As this problem might seem minor when picture seen on screen it might become very serious drawback when images printed.

Resolution of images necessary to print is 55cm x 55cm images at 300 dpi (which is the actual size of our artwork). The droste effect lacks the support of 300dpi resolution that is why it is necessary to increase actual pixel count on both height and width axes.

Calculation shows that the images need to be printed at least 6496×6496 pixel at 72dpi resolution not to be pixelated.

Picture belows show comparison of three individual images where left and right images have original resolution of 650 pixels and were scaled to fit the size of actual artwork and the middle image was created as a 6496 pixel image and fits the size of actual artwork without scaling. This image portraits the pixelation problem related to the lack of resolution of left and right image.

This picture is still shown only at 50% of what would people really see, due to the inability of this blog to show bigger pictures. However on 100% the pixelation becomes much more noticeable.

I was using After Effects to create these droste images. The resolution of images(1-26,33,34), is 6496×6496 pixels 72dpi which is equal to the resolution of 55cm x 55cm 300 dpi necessary for the final print. Images were numbered for easy recognition during the group vote.